Further Rumors

Here's a record I think pretty much everybody's slept on: "Rumors 2002" by T.O.N.E. on Select Records (I'll leave you to guess what year it dropped). So let me start by answering your primary unanswered questions about this record:

1) Is it...?

Yes, it's an unofficial sequel to Timex Social Club's hit "Rumors" that uses largely the same instrumental, subject matter and samples the chorus for the hook.

2) Who the heck is T.O.N.E.?

Since it's a Select Records release, you might be thinking it has something to do with Red Hot Lover Tone, but no. T.O.N.E. is the artist formerly known as Style, who put out a Hollywood Impact-produced album on Select way back in 1990. He's also the younger brother of old school legends T-La Rock and Special K (yeah, no shit!), and is still putting out music, now under the slightly altered name T.O.N.E.-Z. Here's his myspace.

So yeah, it's kinda wild that Select still apparently had this guy on their roster twelve years after releasing his one album. Unsurprisingly, Hollywood Impact is no longer involved - instead this one is co-produced by someone named Rock Stardom (never heard of him - maybe a pseudonym to go with the song concept?) and T.O.N.E. himself. Like I said, it's basically a riff of the TSC instrumental, but they do flip the drums etc and make it more contemporary. The fun of this song, really, is the lyrical content anyway: T.O.N.E. just drops a barrage of crazy, silly name-dropping rumors about everybody in the industry:

"Funkmaster Flex...
Ran up in Mary J,
And robbed Jay-Z,
Wrote all of Biggie's rhymes,
Made Stevie Wonder Blind!
Krs ate pork,
Then slobbed down Monifah!"

...And so on. Yes, it's more than a little gimmicky (think "Bomb MC" or "Ghost Writer," both of which preceded this) and some of the rumors are just too childish and corny ("Jackie Chan's bionic! Bruce Lee's alive!") at times, but it's amusing. And for the final verse, he does flip it and kick a serious verse about the rumor mill ("See how you laugh when I spit those bars? See how easy it was for you to believe bars? It's the rumors, the lies, the gossip, the tabloids."). You get a Main Pass, Radio Edit and Instrumental for this track on the 12".

But that's not all! There's also "Rumors (Part 2)," which is a total lyrical and instrumental remix with a completely different hook as well. This time the instrumental is essentially Nice & Smooth's "Hip-Hop Junkies," though chopped a little differently; and it's basically an opportunity to throw in a couple hundred more zany name-droppings ("Did you hear about Dr. Dre? He made a gay porno flick that'll drop today!"). This one has a serious third verse, too; this time settling rumors about himself ("ain't shit changed for the assassinator").

It's definitely not a great record; but it's a neat little dollar bin pick-up with some unexpected old school roots.

Sally Got a Four Track 12"

Anything off of Diamond D's first album shouldn't need much by way of introduction. I'm sure you all remember this second single off his first solo outing... "Sally Got a One Track Mind" followed a common theme in hip-hop in the early days: warning against women being too materialistic in their relationships. The only thing hip-hop heads were warned against more than money chasing women by their favorite musicians were sucker MCs. But Diamond's expert production, highlighted by the slow, soft flute sample, gave the song a feeling of sincere maturity: a wise grandfather pointing out a flaw in our social fabric rather than a sexually threatened young man trying to demonize womens' sexual freedom. This cause was furthered by Diamond's smart lyrical structure, too: each verse visits the same character at a different stage in her life. First verse she's underage, next she's 18 and finally she's a young mother with an expanding consciousness. The tone's a little different than Poison Clan's "The Bitch That I Hate," even if it's ultimately the same message.

So that track in a picture cover already makes this 12" a crate staple, but this single shines with some nice B-sides. First up is the Remix by Showbiz. This track is ferocious; and belongs right at the top of any DITC greatest beats list. Fast drums, squealing trumpets. deep bass... it's really only the light piano(?) notes that make this fit the "Sally" song as opposed to some Percee-P and Big L fast rap bonanza.

Then we get the album track, "Check One, Two." Diamond kicks some fun, arbitrary freestyle rhymes over a very cool, jazzy track which was co-produced by The 45 King. There's some nice references to his first group, The Ultimate Force (in fact, he even samples a brief moment from "I'm Not Playing" when he brags about how he flipped a blues loop for that track (and he should brag; that song was incredible). But it makes you a little sad that there would be no more Ultimate Force records.

Finally, we come back for another pass at "Sally," this time with the Two Track Beat Down, again produced by Diamond D. This is more stripped down; just a big, fast drum break. It's definitely dope, but is even further removed from the tone of "Sally" than Showbiz's mix. So much so, that it really doesn't fit. It's cool and worth checking out, but this beat should've been used for a battle rap, not Diamond's reminiscent morality tale. It's a misstep, still worth a listen for DITC fans; but that's about where it ends.

Anyway, it doesn't matter how screwy the last track is, the Showbiz mix already makes this a must-own. And like I said, even if it was nothing album track, I'm sure this single would be pretty popular. But if you've passed on it 'cause you didn't know what else was on here, I can assure you it's worth your time. I mean, some instrumentals would've been nice; but you can't have everything.

Wu Mortal Kombat

(Youtube version is uploading very slowly... I'll link it later. Ok, it's here.)

James Brown, the Rapper

(Youtube version is here.)

Timex Social Club Meets the Dangerous Crew

The Dangerous Crew formed, I think, because Too $hort and his producers realized his records were a goldmine, but he could only plausibly release so many himself. So he signed a bunch of mini-Short Dawgs, released a plethora of records (mostly through the same label - Jive) and probably made a mint. Now, it's true, they all didn't sound exactly alike... Father Dom had a smoother, less dry voice, and Spice 1 was more on some hardcore killer shit. but basically, all those guys: Ant Banks, Pooh Man, Goldy... were all releasing interchangeable songs that could've just as easily turned up on one of the other's albums. It was a good time if you were a Too $hort fan, and I was happily eating all this stuff up in the early 90's.

Father Dom's "Rumors" (or "Rumors Rumors Rumors Rumors" if you take the cover literally), off of what would have been his 1995 "debut" album, Mellow Madness. I put "debut" in quotes, because that's the way Jive Records was billing it, but he'd actually put out an independent album a few years earlier (hey, Jive pulled that stunt with Goldy, too!). And I said "would have been," because the album wound up getting shelved. I'm petty sure it was recorded, though, because the track-listing has been widely available, and there's probably even some official promo tapes from Jive floating around amongst the collectors.

Anyway, the first single did come out. And the cassette single even had a picture cover. It was called "Rumors," and it was more grist for the mill. Production credit goes to "Father Dom and the Dangerous Crew," and the subject matter is well-trod ground. The hook is based around on an old Too Short vocal sample ("Keep your jealous ass thoughts to yourself"), but what makes this song stand out is Dom's ultra-smooth flow, along with a smooth, bass-heavy track.

But the Jealous A. Remix is more than just some cool Father Dom album filler. Now, there have been a number of songs to use Timex Social Club's hit "Rumors" pretty liberally... The South Central Cartel's "Hookaz," Master P's "Stop Hatin'," and of course The Vicious Rumor Club provided the original rap version. Bobby Jimmy and the Critters parodied it, Club Nuveau blatantly ripped it off, and there's a bad 2Pac song that replays all the music of "Rumors" for the track. So I guess it was a pretty predictable idea that Dom and his co-producer on this remix, Tone Capone, would decide to use the music of the original "Rumors" for their "Rumors." But this version one-upped all those who simply ripped the TSC off.

He actually found them and featured them on his version (or at least lead singer Michael Marshall, who was pretty much the sole remaining member in the group).

The music on this remix is completely different than the album version... it's essentially the music to the original "Rumors" but replayed. I'm sure, even if you haven't heard it, you can imagine it: the main riffs replayed as Ant Banks-style keyboards and a slower, deeper bassline. Anyway, unlike the 2Pac song, this blend of old and new really works. The music is tight, TSC's hook sounds great... he might've actually sung it better here than on the original. And if you're unsure who's preferable on the mic: Father Dom or Master P, then you have an anti-west coast bias that's way out of control! ha ha This is one of those rare old school updates that works, and I think surpasses the Vicious Rumors Club song (though that gets credit just for being fun and old), that both captures the original vibe and updates it for the 90's:

"Now if you're tellin' lies on me and my crew,
In Oakland, you might get the old 1, 2.
'Cause if your mouth's writin' checks your behind can't cash...
We're gonna have to get the ski masks." 

The B-side, "Let 'Em Know," features what would've been just another album track, had it come out. But since it didn't, it's a rare treat of Dom's Jive material. He gets to flex his style here (which - did I mention? - is smooth), over a fresh, laid-back track with some great live music vibes by Tone Capone. "Rumors" (especially the Original Version) is pretty generic Dangerous Crew material in a lot of ways... but this is uniquely Father Dom, and shows why he was a noteworthy artist in his own right. The "Rumors" remix is what really makes me glad this single got released, and "Let 'Em Know" is what makes me disappointed the album never did. Damn, I might have to go do some googling and see if there're any leaks out there.

Allah U Akbar

When Grand Puba left Brand Nubian (uh, the first time), there was a lot of question about whether the group would hold up. Sure, we knew from "Concerto In X Minor" that Puba wasn't the only praise-worthy mic holder in the group, but it was still pretty unclear what would be left when you took out the most dynamic element. Think Fugees minus Lauryn. And regardless of the creative content, I remember being pretty convinced at the time that this second album was going to be a one-off for devotees and the final Nubian album. It was a good look that Elektra didn't drop them right there.

And Elektra was surely all the more nervous when they first heard the single they'd soon be offering up to the public. "Allah U Akbar" certainly didn't have the upbeat swing of "One for All," the crossover sound of "Slow Down" or a collection of witty one-liners from Puba. A gritty self-produced beat, some tough lyrics ("So if you’re feeling lucky, then come and catch a buck. How could I kill a man? Well, I just don’t give a fuck! ...We’re bound to win, 'cause God don’t like ugly. You'll get slugged, rushed, raped, robbed and mugged, G.") and an attention-getting vocal loop for a hook added up to a pretty rugged debut. Even just the title... of course, it's a very positive saying (it means "Allah is the greatest;" it's a saying of praise); but I don't think it was an easy sell to MTV's advertisers in '92.

But lyrically, except for some standard NY tough talk in the mix, it's actually a pretty simple reintroduction of themselves. Sadat lays down the plot of their return:

"The deuce crew of the new makes the whole shit clear, yeah.
Give the question - I’m tired of brothers guessin'.
The Nubian name
Brought the X a lot of fame,
But wouldn’t it be a shame if it all up and ended?
That ain’t the plan I had, and shit like that ain’t intended."

It's really just a simple, unpretentious single to say, "hey we're back!" And the B-side is even less pretentious: another album track called "Steal Ya 'Ho." It's kind of a lighthearted extension of Jamar's line from "All for One," "every time I drop a rhyme to show Jamal is intellectual... girls wanna get sexual," with the pair kicking somewhat dirty raps about girls over another self-produced beat.

By the way - a quick aside to discuss dates. Discogs for some reason lists this single as coming out in1993, as opposed to the album and the "Punks Jump Up" single, which they list as 1992. But I could swear this one actually dropped first. And just check the scan I posted: the date is clearly labeled 1992. At any rate, this definitely came out around the earlier side of things, and their biggest hit from the album, "Love Me Or Leave Me Alone," came later.

So, okay, back to the music. Besides the two songs, and instrumentals, we also get two remixes - one of each song, both also self-produced. The "Steal Ya 'Ho" remix is interesting... it takes out the familiar funk guitar and replaces it with a simpler, grittier beat that draws you in more with the bassline. It's kinda cool, but would be non-essential except for the fact that it's also a lyrical remix. So it's essentially a whole new song, with new lyrics and instrumental. ...Not one of Brand Nubian's better songs, mind you (lyrically, it's kinda lame), but still.

And the same goes for "Allah U Akbar" - it's not just an instrumental remix (this one's more smoothed out and kinda cool), but it's a lyrical remix as well. This mix is way more in tune with what you'd probably have expected from the song in the first place: Five Percenter talk, social and political commentary, shots at the devil. This time around Jamar's on some righteous shit. And Sadat, well...

"Your raggedy ass women, they always be lustin'.
Pale, skinny creatures with subhuman features.
Have you ever noticed when it rains and their hair gets wet,
That it stinks so bad it makes you have to jet?"

So, it's not exactly a remix I'd recommend casually around the office. But if you like your Brand Nubian records O.G. and edgy, I don't see how you could resist adding it to your collection.

A Little Jersey Random Rap...

Found a cool, little 12" in my crates that I haven't listened to since I got it way back in the 90's. Turned out to be pretty fresh, so I reviewed it for DWG. You can read it here here.

You would think there has to be an end to all the dope "random rap" that could turn up from the 90's, but there never seems to be...

Big L & G Rap Double Up

Q: How many records have Kool G Rap and Big L done together?

A: Not enough!

Okay, I guess I shouldn't put that question in your heads and leave it at that. lol The real answer, by my count, is two. One is "Fall Back," a song off Big L's The Big Picture, his posthumous album on Rawkus. And the other one is this nice, oft-overlooked track by Royal Flush on Offical Jointz. There's no year on this 12", and the catalog numbers are a little confusing, but thanks to the fact that I've been documenting Kool G Rap's discography for years now, I can confidently say that this dropped in late 2003/early 2004.

So yeah, it's just the one song, "Double Up," in Clean, Dirty and Instrumental versions (the B-side duplicates the same three mixes). The uncredited production is decent but unexceptional - it sounds like a billion other mixtape-type tracks these cats were rhyming over around that time. It's got one of those "epic" film soundtrack loops with a little pitched-up vocal sample that Canibus seems to be madly in love with. Really, you'll be expecting Whookid, J Love or some other asshole to start shouting their fool name over the song at any second. Fortunately, though, this is a proper 12" and there's none of that here.

But getting these two giants together makes this a must-have:

"How I'm livin': swell;
You can't scar L.
Head of the cartel,
Sellin' more cakes than Carvel.
Now I'm labeled a kind thug;
Police got my line bugged;
Hope I see the grave from old age,
And not a nine slug.
I'm quick to bust a mean nut
In some teen slut;
Big L is clean cut,
with more jewels than King Tut."

Kool G Rap's verse is even sicker. But disappointingly, it's another case of him recycling his bars from another guest verse: Canibus' "Allied Meta-Forces" from his Mic Club - The Curriculum album that had dropped earlier in the year. But I think for a lot of G rap fans, this 12" will be the preferable way to have those rhymes in their collection, anyway. So yeah, G Rap's verse is recycled... and if those Big L lines seemed a little too familiar... yup. They're from his guest verse on Gang Starr's "Work" off their Moment of Truth album. So this is one of those tracks that seems to've been stitched together from old acapellas. But in L's case, at lease, you had to expect that considering this came out well after his passing.

Anyway, Royal Flush's verse seems to be original (as far as I know... there's a lot of Royal Flush singles I haven't got), and he holds his own pretty nicely as well ("Feds wanna challenge us/ Off balance with silencers/ Locked up with calendars"). And of course you can't take G Rap anywhere without Ma Barker tagging along. But it could be worse - he could've married Charli Baltimore. Besides, the presence of Barker at least suggests that G Rap was actually knowingly involved with this recording, even if he was spitting old material.

I don't know how rare this is. Curiously, it isn't on discogs yet, and a quick google search doesn't return much... but I didn't think anything on Official Jointz was really that limited. Anyway, I wouldn't expect to have to pay a lot for it, but I recommend picking one up when you see it.

The Way They Used To Krush

Depending how hip you are to Michigan hip-hop, you may or may not know that one of their founding rap crews, The KMC Kru, was once known as The Krushin' MCs and put out some dope material on Macola Records in the late 80's. Back then they had a third member, Stevie D, who didn't follow T and The Butcher when they signed to Curb Records. But what you probably didn't know is that The Krushin' MC's were around even before their Macola period, and they had a slightly different line-up.

In 1986, The Krushin' MCs dropped "The Way We Krush" on Midwest Records. The MCs here are Wonder T and Sir Klank, somebody they used to shout out on their Curb albums (I used to assume he was a dancer for them). Sir Klank wound up doing some appearances on KMC Kru's independently released fourth album, AKA IG's, where the line-up changed again, with The Butcher leaving and a new MC named Cat Man stepping in. Confused? Maybe I should draw a chart. But the point is, it turns out Klank was an original, founding member who shares microphone duties on this rare, first single.

They also refer to a DJ Mike Ski (guessing on the spelling), who's probably not The Butcher, since his real name was Ken White.

This is some serious old school hip-hop. It's got that deep, thudding drum machine sound, lots of hand-claps and simple, loud cuts. The MCs trade rhymes line for line and word for word:

"We never, never hog the mic!"
"'Cause we're not greedy!"
"We're still at full power!"
"'Cause we eat our Wheaties!"

It's b/w "Bittin' Attack," which is similar, but features some hard (keyboarded) horn stabs. For the DJ gets a little busier on this one, cutting up the classic UTFO "bite it!" sample on the hook and mixing in the horn sample Slick Rick would later use for "Mona Lisa" (that's right, these guys had it first) at the end.

Production for both songs are credited to a Mark Wilson. And instrumentals are featured on the flip.

Like my previous review, I could see this being labeled "too old school" for a lot of heads, but really this is an excellent example of how it was done... way back in the day. This is a tough one ot find, but I also doubt most heads are up on this so demand is low and you just might get lucky.

South Africa No Free Neither Are We

"A.F.R.I.C.A." is a classic Stetsasonic single that was surprisingly left off any of their albums. This was a pretty big release at the time (1989), and went a long way to putting a pre-"Talking All That Jazz" Stetsasonic on the map. It was a side project of the Artists United Against Apartheid's Sun City release - not included on the album (because that came out four years earlier), but single is marked with their logo and says it's "endorsed" by the Sun City album.

You surely remember the video, if you were around back then, with Stet superimposed over South African news footage. The song has a very rudimentary, old school feel to it. It's that low tech sound you either reminisce fondly of, or you're embarrassed to death to listen to today. But there's no denying the funky percussion... probably because it's provided by Olatunji and the Drums of Passion. And the hook to this song is one of the best geography lessons I ever had in life. How many cities countries (whoops! fixed - see comments section) in South Africa can you name? I can name "Angoloa, Soweto, Zimbabwe... Tanzania, Zambia, Mozambique and Botswana!" The picture cover[upper left] also says it's featuring The Reverend Jesse Jackson, but that's a little disingenuous. They sample a speech he made when he made about South Africa... but how many tons of rap songs sampled speeches? They didn't claim them as featured guest stars! Still... the CD single[which I don't have, but I stole the scan from discogs... right] features a photo of Jackson posing with the band, so he must have at least signed off on this record.

And speaking of the picture cover, it's a pretty neat one! The inner sleeve also includes the lyrics, production notes, an essay on the problems of apartheid (an excerpt: "After a network TV report on [Jackon's] trip appeared on ABC's 20/20, Stetsasonic checked out the situation. They wrote A.F.R.I.C.A. to get more people interested in finding out about apartheid and the Frontline states") and a detailed map. Seriously, there's a lot to read with this record.

There's a couple mixes here... the regular version, a slightly shorter Radio Version and The Stetsafied Mix. The Stetsafied Mix isn't too different from the other two; but it does feature a lot more beat-boxing from Wise, some deeper drum machine notes and a few other odds and ends thrown into the mix.

Finally, there's "Free South Africa" by Tack Head. Tack Head is actually an alias of The Sugar Hill Band, a.k.a. Fats Comet. I assume the change in name is so people wouldn't expect the softer disco sound of the early Sugar Hill Days... this features hip-hop drums, electric guitars and a lot of vocal samples from news programs laid over them. It's kinda dated, but in some ways sounds even more dated than "A.F.R.I.C.A."

It's worth noting that Stetsasonic's third and final album in 1991, Blood, Sweat & No Tears featured alternate bonus tracks on its CD and cassette versions. One of those tracks was a new remix of "A.F.R.I.C.A." (curiously titled as "Free South Africa (Remix)"... but it's a remix of "A.F.R.I.C.A.," not the Tack Head song); and this might be a bit controversial to say, but I prefer it to any of the original mixes. It's a whole new instrumental, with a cool, rolling bassline, funk guitars, and girls (sampled?) singing along to the hook. What's really impressive about it is that it takes the same vocals as the original but manages not to sound dated at all. Seriously; it's like... how'd they pull that off? The remix is fresh and timeless.

But don't let my preference for the remix dissuade you from the original. Like I said, the percussion's ill; and this 12" is an important piece of hip-hop history. And before anybody asks, yes, they freed South Africa. In 1994, South Africa held their democratic election, voting in the African National Congress and their democratically elected president, Nelson Mandela. 8)

Don Done Right

Ever feel like, "somebody out there's listening?" Well, I do today because I just received Godfather Don's Selections EP (though to my mind, this is full enough to constitute an LP) from No Sleep Records. I'll forgive you if you've forgotten a blog I posted way back in 2007, where I gave a positive review of Godfather Don's CD The Nineties Sessions, also on No Sleep; but also expressed some disappointment with it.

Only some of the tracks were new (and some were blatantly stepping on another label's toes), and of course - it wasn't on vinyl. Well, I guess they heard me (and all the other collectors who felt the same way), because in 2010, No Sleep is back with a new release that addresses all of my concerns and then some.

The Selections EP features all seven songs from The Nineties Sessions album that had never been released before and puts them on vinyl for the first time. And, thanks to a last minute recall where some low-volume wax was taken back in favor of a new, first class pressing, the sound quality is excellent (better than what was pressed on the CD, I daresay). Back when we looked at The Nineties Sessions like, "damn, this is good, but could have been so much better..." Well, it's now been done so much better. :)

Oh, but wait! That alone would make this an absolutely essential purchase in my book, but there's more. In addition to those seven songs, the Selections EP features a completely unheard, never-before-released Don track from the 90's. "For Your Ear" is easily one of the best tracks on here, too (I'd say the best, but "Memories" was smooth); this is no second-stringer, and really captures that magical 90's production sound. This'll take you back to the days of flipping to the back pages of The Source and nodding your head to NYC radio back when it was worth listening to.

This is a limited release (though there is some question as to exactly how many were pressed... apparently 175 were available for pre-order, but nobody presses in quantities of 175), and comes in a cool sticker cover. This might prove to be a difficult one to get your hands on, but damn worth it if you do.

DJ Mark & Rakim

(Youtube version is here.)

Fear Of the Rap!

Hip Hop Connection is back with a new digital issue, and as ever - that means a new Fear Of the Rap! piece by yours truly. It's a wild one this time; I won't even spoil it by telling you what it's about. Just click here to check it out.

Other attractions include an in-depth interview with Flying Lotus, some early NYC graf shots, and an interview with Ricky Powell, the photographer who documented the Beastie Boys' career. Oh, and they cover the new Digital Underground in their review section... I forgot that one was dropping. Gotta give it a listen.

Treacherous, Devastating, Supreme

(Youtube version is not here. Just kidding, yes it is.)

"Home Taping" Hurr Durr

I'm not a musician. I have some sympathy for the artist - seemingly more than most hip-hop bloggers today - but I generally leave them to fight their own battles. Illegal downloading killing your career? Well, maybe if you'd pressed up your album I would've supported, but you didn't care so I don't.

There is however, one point I feel compelled to make, just because I see so many people get it wrong in online discussions. It's frustrating, damn it.

We've all seen it. The usual "mp3s are killing music!" versus "artists need to adapt!" debates, and someone ironically posts the old "HOME TAPING IS KILLING MUSIC" logo (which did have a pretty awesome image, I must admit). Laugh at how paranoid and foolish the music was for thinking taping stuff off the radio, or making cassette copies of albums, would topple the music industry. I mean, they probably did lose some revenue, but don't look at that. The joke is how senseless they were being.

But here's where the comparison really becomes invalid:

1) This is a lesser point, but I'll throw it out there anyway. Home taping still required blank tapes. It was substantially cheaper than buying a proper cassette album Sam Goody's, but there was still a discouraging expense involved that isn't there in sharing mp3s. This is marginal (but still a factor) if we're talking me hooking a friend up with a tape of an album. But it's huge when you compare the cost of uploading one mp3 to a site like Zshare for free and having hundreds - or even theoretically potentially billions - download it verses the cost of buying a blank tape for every one of those people.

2) But more importantly, that the internet is killing the distribution gatekeepers... which for the most part, I'll happily concede, is a good thing. What that means, however, is that the labels, the stores, etc. no longer have any say in what music you get. In olden days, if no music store in your area stocked the album you wanted, you were SOL (shit outta luck). And I'm not just talking about, "damn, my local Sam Goody's doesn't carry Esham's first EP!" What they didn't stock were album dubs. You couldn't say, hey let me pass on that $10 album and get the $1 dub of it instead. But now on the internet, it's just as easy (if not easier) to download something free and illegal as it is to get it legally.

3) A dubbed cassette tape, with a generic Maxwell or whatever logo and the title of the album written in ballpoint pen seriously lacked the luster of a proper album, with the track-listing printed nicely on the tape, and of course the fold-out cover art and liner notes. But an mp3 from Amazon or Itunes has no advantage of an mp3 you snagged off of Soulseek or some random blog. In fact, with issues like DRM, the illegal copy might just be better.

So, anyway, my point isn't to make a grandstand against internet piracy or anything like that. It just irks me when people make the "home taping" point without any realization or acknowledgment of how off-base a comparison it is. And even if you want to pull a "well, that's just, like, your opinion, man," on me, I think a look at the Soundscan numbers after the rise of home taping versus the after the rise of Napster will show an incredibly vast distinction in declining sales.

So, go ahead. Continue to download everything you like. I don't care. Just don't throw that cassette and crossbones logo into any more message board debates as if you'd just intellectually crushed the opposition.

Shadez of Brooklyn

It's a shame that a crew like Shadez of Brooklyn, who sounded so ill and had such break-out success with their debut single - I think I could safely use the word "beloved" in relation to their hit, "Change" - only managed to put out three 12" singles before disappearing. Well, in 2010, Chopped Herring Records has finally rectified that situation with the release of their Pandemonium EP.

To be clear, this isn't new material by the group reunited; this EP consists of 5 previously unreleased tracks recorded in 1996 and '97 (which means they actually predate Shadez' second and third singles). And like their previous singles, all the tracks here are produced by Da Beatminerz, so don't expect any disappointments. Only one of the tracks, "Everyday Livin'," has ever been heard in any capacity before - it was included on an Evil Dee mixtape. But, like the other songs, this is the first time it's being released in a full un-edited/blended capacity.

Really, if you're familiar with the Shadez of Brooklyn's previous output (and you really ought to be), all I need to tell you is that this is every bit as good as their past singles. Production-wise and lyrically, any one of these songs would have fit perfectly on their previous 12"s. The voices, the flows, the way the MCs play off each other going back and forth over hot beats with killer piano loops and fresh cuts from crazy comic book records... it's all here. In fact, the opening track, "Now a Dayz," seems to be a sequel to their original B-side, "Survival Wars;" with a hook that goes, "Now a days/ You've got to live in a certain way/ Watch what you say/ Here comes the gun spray/ East to west, South Shore to North Shore/ We told you before/ This is the time of survival wars." And "Pandemonium" is presumably the song they named their record label (Pandemonium Wreckords) after, so it's nice to finally get to hear it.

And in addition to those five unreleased joints, they also threw "Change" on here as a bonus. I can't imagine many people who'd buy this wouldn't already have "Change" on vinyl, but just in case, here it is.

As you can see in my scan, this comes in a nice sticker cover, and it's limited to 300 copies. It's still available (mine just landed today) as of this writing directly from the label's website: choppedherringrecords.com. The limited releases don't get much more essential than this one.

Remembering the Gifted

Following the recent loss of one of hip-hop's most esteemed MCs, Guru, we're celebrating his work over at DWG with a series of reviews of classic Gangstarr 12"'s. Mine just went up now. I picked a more recent one than you might expect, but hopefully you'll find it a fitting choice.

Mad Child's Early Days In a Jazzy Hell

What the Hell is the group Mad Child was in with DJ Flipout before he created Swollen Members. They dropped this single, followed by an album, on Tandem Records in the early 90's. Now I'm not gonna front like I was rockin' this back in '93. Like a lot of indie hip-hop fans, my head was blown when Swollen Members came out of seemingly nowhere with a series of amazing 12"'s (and eventually albums). So I looked into them and found out about this earlier project, and thanks to the miracle of the internet, picked up used copies of the album and single cheap.

Predictably, he sounds younger here, and the Swollen Members atmosphere that's especially present in their best work, is absent here. But his distinctive voice is unrecognizable, and while this doesn't sound like a Swollen Members-minus-Prevail record, it's still pretty nice. Imagine Pharcyde kicking naighty rhymes ("oh yeah, it's really important that you don't fill out a statement!") over DITC production, and you've got a rough idea. It features a nice Beastie Boys sample cut up on the hook: "The girlies I like... are underage!"

We're then laced with two exclusive remixes of "Young Girls," the Rogie Mix and the Manooshi Mix. The Rogie Mix is so named because it's produced by a guy named Rogie Swan; and the Manooshi Mix is called that because it's produced by a guy named... David Christian. haha I dunno. Anyway, the Rogie mix is pretty cool. It uses the same crackly old horn sample, but slows it down about 50% and adds a little extra instrumentation (vibes especially)... it gives the whole thing a moody, soulful feel. That kinda clashes with the subject matter, but it works if you don't think about it too hard.

Conversely, the Manooshi Mix speeds things up. It uses a cool bassline that kinda sounds like "Cool Like Dat" or "Juice (Know the Ledge)" but played at triple time. Even the vocals are sped up considerably, giving the MCs cartoony voices (think Big Scoob when he rapped with that awful accent or B Real)! If you just heard this song on its own, you might think you'd accidentally set your turntable to 45. This one's jazzy, too, with some more scratchy old samples and nice drums. Long story short: the production is surprisingly good, and the rhymes are juvenile but fun.

Finally, the B-side rounds out with two more tracks taken from the album, "Summer Styles" and "Down Like This." After "Young Girls," "Summer Styles" is more of the same (which is good). Classic, jazzy style production and high-pitched raps about the summertime. There's a lot more scratching provided by a DJ Ajax which is nice, cutting up the same vocal sample 3rd Bass used for "Steppin' To the AM" ("What time is it?!"). And everything I just said about "Summer Styles" can be said about "Down Like This" except this time they're kicking harder battle raps.

Seriously, the production on this 12" is surprisingly good. In fact, I would say great. Even if you're thinking "ah, I don't care about this indie, art fag rap type shit. Just give me Freestyle Professors' '94 and leave me alone," check this out. I think you'll be really surprised and have to add this to your collection or wishlist.

1, 2, 3, the Crew Is Called Jam Rock Massive

What we have today is "Stop the Violence" by Jam Rock Massive & Krs 1 (not to be confused with "Self Destruction" by his Stop the Violence Movement, which was named after this song). This was released independently on Massive Records on 1988, and has that classic B-Boy Records feel.

Now, you may remember that "Stop the Violence" was featured on Boogie Down Productions' second album, By Any Means Necessary (also 1988). Of course you remember: "I say: one, two, three/ the crew is called B-D-P/ And if you wanna go to the tip-top/ Stop the violence in the hip-hop/ Y-Oh!" In fact, they released it as the second or third single (not sure if "Ya Slippin'" came before or after it), with a colorful picture cover and everything. But this is the original version, that didn't wind up getting put out by Jive/RCA Records.

Well, this mix is the one for sure. I don't know why Krs bothered to remix it for the album, except possibly they felt every song on a Boogie Down Productions album should be produced by them on principle? Because production here is credited to an R. Stafford... which I guess is a government name for one of Jam Rock Massive? Anyway, it's still got that funky, reggae vibe, but this version has a different, much funkier bassline; and while it doesn't include the horn section from the album version, which was decent, this one has an ill horn clip that sounds like it was sampled off a turntable with a busted belt. Fortunately, both versions feature that silly Caribbean library tune that comes in after he says "the president's on vacation," though. :)

This 12" just has the one song, but it's fully-loaded with all the elements: Extended Version, Radio Version (which is about a minute and a half shorter), Instrumental and Acapella. There's no picture cover like the major label version, but it does come in a bright red sleeve, which is coming close.

I wish I had more info to impart on who Jam Rock Massive is exactly... All the vocals are pretty much Krs-1's except possibly some back-up on the hook. And they never released any other records that I've ever heard of. It's also possible it's a fake name... in the May 1988 issue of Spin Magazine, where they write, "the single's sparse underproduction and relaxed pace make it more exciting than anything on the album," Krs-1 replied that it was just "a bootleg of a demo recording." But whatever it is, it's dope.

InstaRapFlix #27: Black and Blue: Legends of the Hip-Hop Cop

It's been over two months since my last InstaRapFlix review, but I'm still workin' it. Today's is a little different than the ones I've been looking at lately (using the term "lately" loosely, I admit)... It's not a vanity piece for a Southern rapper, it's not approximately half an hour long. This looks like a real hip-hop focused documentary film. Black and Blue: Legends of the Hip-Hop Cop has a rating of 2.5 stars on Netflix, which is high for an InstaRapFlix movie. What can I say? Guess I'm usually attracted to the trash. But have I elevated my standards this time, or is this really just more of the same?

Well, it's a QD3 (he did the Beef DVDs) Productions from 2005, and it's narrated by Saul Williams. It's from 2005 (though Netflix dates aren't always the most accurate) and opens with a clever credits sequence.

It starts out with a sequence about how rappers are profiled by cops. It features a pretty impressive line-up of rappers addressing the topic - everyone from 50 Cent to Biz Markie. But it gets more interesting when it gets into how The Miami Herald [Hey; I once wrote for them!] first caught word of a police department specifically gathering info on hip-hop artists. Impressively, they interview the staff of the Herald, the cops, lawyers... this is a thorough doc. Anyway, it all eventually boils down to the fact that almost all these hip-hop related police efforts are directly connected to one retired police officer named Derrick Parker, who calls himself the hip-hop cop.

Soon (and we're only about 15 minutes in), the film transforms into a glorified vanity piece on Derrick, who gives a series of interviews, drives us around in his patrol car (retired officers still drive patrol cars? silly movie fakery), and they even do a cheesy 70's cop-show sequence for him. Any airs of this being a "legit documentary" breaking any kind of important story soon blow away, and we're left with a silly puff piece of Derrick boasting about what rappers he's performed security for.

After about the first half hour, it gets pretty dull. It's a Derrick shows us pictures of him at Jack the Rapper with Heavy D, his dad shows us around their apartment, his former boss talks about what a good cop he was. All that's cute, but the bulk of the film is just Derrick talking and talking with not much to say. It was a real test to my dedication as a reviewer not to start fast-forwarding through a lot of this.

Oh well. Started out promising, and slid down hill, slowly but surely. I can't even say it's worth the free watch, because it IS long. And goes nowhere, flailing around without a point. Blah. Maybe the next one.

Fat Joe da Gangsta

It's DITC Week over at Diggers With Gratitude, where each writer is reviewing a classic DITC album. Mine just went up today... an album I hadn't played in a while, but enjoyed going back to: Fat Joe's Represent.

Masta Ace's Lost Tapes

(Youtube version is here.)

Sharper Than Your Kitchen Shit

You know a label is rugged when they misspell their own name on their record label. Well today we've got Stratus (or Sratus, depending where on the label you look) bringing us the raw with a dope, indie NYC 12" from the 90's. This is the first and I believe only release by Strippoker (and indeed the only release on Stratus), titled "Reign Supreme." To be honest, I hadn't heard of it until I stumbled across it being sold cheap online. It features Craig G, so I figured worst case scenario, I'd be padding out my Juice Crew collection a little more. But no, turns out this is hot.

It's a three-song 12", and all three are produced by Art Well Smart, a name I've never heard of and that does not inspire confidence. But whoever he is, he's provided three simple but solid street-level beats. The A-side, "Reign Supreme," features Craig G, DV Shines, and DJ Sinista - possibly Mista Sinista from The X-Men? Anyway, it comes in three versions: Street, Radio and Instrumental, and it's a winner. The beat features your standard hard drums and bass with a cool Spanish guitar loop, some atmospheric samples, and killer, creative scratches on the hook. All three MCs come nice, but Craig G steals the show with some surprisingly tough lyrics:

"My words are sharper than your kitchen shit.
I'm a Mac-11, fifty shot clip in it,
Hollow point rhymes blazed down your block -
Nobody witnessed it!"

The first B-side is "QB To CO" [I believe that's referring to Corona in Queens NY, not Colorado], which also comes in Street, Radio and Instrumental versions. It's not quite as good as "Reign Supreme" - it's short a killer verse from Craig and without the nice cuts from Sinista, the track isn't quite as compelling - but it comes close. It's got a dope piano loop which reminds me of some early Jedi Mind Tricks material, but with a nice scratchy old sax sample on the hook. The label doesn't credit anybody, but there's a second MC on this song as well (maybe DV Shines again?). Whoever he is, he and Strippoker actually comes a little tighter on this track than the last one, I think:

"I be where the crooks and the thieves rest,
Crackin' St. Thug and puffin' on mad bless.
If you got beef, we be comin' to your address,
Runnin' in ya crib with the gats, 'causin' madness."

The last song is a little bit lighter, and only comes in one version: "Black James Bond." In the tradition of classic songs like "I Go To Work" and "I'm Large," this is another hip-hop track that incorporates James Bond theme music into a hip-hop beat. Lyrically, he's mostly just busting more ill freestyle rhymes ("I wet niggas up like girls' drinks") rather than any crazy "The Mission"-type Bond stories, but it's a fun track regardless.

It's a shame this 12" seems to be so slept on, 'cause it's a definite winner. So it's a real disappointment there was no follow-up. But considering most people (myself included) didn't even know this one existed, I guess we should just add this nice sticker cover to our crates and be happy. :)

Juicy '89

(Youtube version is here.)

Malcolm McLaren In 1990

I just found out that Malcolm McLaren passed away earlier today... He's not necessarily "a hip-hop guy," in that he's surely better known for his work with rock, punk and pop bands. But thanks to his involvement with The World Famous Supreme Team, he does share credit for some cornerstone hits in the genre, including "Buffalo Gals" and "D'ya Like Scratchin'." But instead of the obvious, I thought I'd take a look at one of his more overlooked hip-hop projects.

Now, it's not news to say that a Malcolm McLaren project is kinda weird, but this one is really weird. It's an album he recorded on Virgin Records in 1990 called Round the Outside! Round the Outside! It's credited to Malcolm McLaren Presents the World Famous Supreme Team Show he title is of course a reference to the chorus of their 1982 hit "Buffalo Gals:" "all buffalo gals go 'round the outside, 'round the outside, 'round the outside!" The title is a throwback and the reference to the WFST is a throwback; but the throwback content of this album is relegated to just two tracks that come towards the end of the album, "Buffalo Gals II (Remix)" and "World Famous Supreme Team Radio Show (Remix)." Both are a lot of fun... they're never gonna replace the originals, but they're good mixes with some new scratches and breaks that make for fun alternatives. The most marked difference in "Buffalo Gals II" is the addition of an R&B singer (Seduction, apparently, from the credits) who enthusiastically belts out a epic rendition of the "it's a pity that you're so dirty" portion. It's a lot of fun.

Those two remixes, however, mark the only appearances by The Supreme Team as we know them: See Devine and Just a Lot of Superstar [as their names are spelled here]. The rest of the album is a collaboration of a new hodge podge of artists, both known and unknown - would you expect anything less from Malcolm?

The first song was also the first single, "Operaa[sic.] House!" As you might not expect even though they're pretty upfront about it in the title, it's a house track with opera-style vocals provided by Mona Lisa Young, best known for her songs with The World Class Wreckin' Crew. Some of her vocals are original and kind of your typical club diva style, but further into the song, she gets into covering some actual, classical opera arias. But if that isn't out there enough, just wait! There's also a rap duet on this song, performed by none other than the great Grandmaster Caz and Sparky D. Yes, the original Caz and Sparky.

That's Sparky's only appearance, but Caz and Mona Lisa Young are actually all over this album, contributing to several songs apiece. The other most prominent recurring artist on this album is Low Profile's DJ Aladdin. He even has a solo song at the end of this album, "Aladdin's Scratch," and unlike Aladdin's own albums, this album really showcases why he's a world champion DJ, adding killer cuts throughout the album (for some reason, on his own albums, he never once touched the turntable!).

So that's your main line-up. Some other singers, a spoken word poet, and a rapper named MC Hamlet also appear. I suspect Hamlet may be an alias... he only appears on a song called "II Be Or Not II Be," and outside of this album, I've never heard of any MC Hamlet. Actually, there are short bios in the liner notes. Will that shed any light on this mystery? Well, his reads, "Dancin Black Indian Poet. II Be Or Not II Be!! From Alaska to Venice Cali that is the question: 'is it more noble of mind this decision to die and lie still for lifes ills and torture.'"[again, sic.] Yeah... sounds like a made-up bio for a made-up rapper to me; but who knows? It doesn't help that whoever wrote the bios doesn't seem to be terribly well-informed... did you know that Grandmaster Caz was "part of the TREACHEROUS THREE?" Me either.

So what else is on this crazy album? Well, there's the aforementioned "II Be Or Not II Be," where MC Hamlet turns a section of Shakespeare's Hamlet into a rap. There's "Romeo and Juliet" (which was the second single) a Grandmaster Caz solo song (essentially... there are some uncredited R&B vocals on the hook), which is basically a play on his classic "Yvette," but changing the name Yvette for Juliet. I mean, literally, he kicks the exact same lyrics including the infamous "somebody's comin'" line from "Yvette."

There's a song called "World Tribe" which has basically the same instrumental as Special Ed's "The Mission," but with female R&B singers and some extra instrumentation instead of any raps. And there's "Un Coche De Agua Negra," which is a combination of singing, spoken word poetry, Aladdin scratching a lot of records and none of it's in English (though I could male out another reference to "Romeo and Juliet" in the lyrics). Crazy.

The rest of this album is padding. In fact, if you count the classic Supreme Team records being remixed as padding (which really they are), more than half of this album is padding. "Diva Loves Operaa House!" is just another version of "Operaa House!" minus the raps, and "Wherefor Art Thou?" is another version of "Romeo and Juliet." Even "Aladdin's Scratch" is him getting busy over the "World Tribe" instrumental (Aladdin's version is awesome, though). So, really, basically, there's just five original songs on here.

So it's really not hard to see why this didn't catch on... a crazy mix of house, rap, and r&b with VERY pretentious, heavy-handed attempts to get the kids into opera and Shakespeare. Then add in the fact that most of this album is unnecessary remixes and filler, and you've got yourself a pretty tough sell. Oh, plus MC Hamlet is corny as hell.

But the good moments: Aladdin getting busy, fun (if recycled) raps by the one and only former Cold Crush Brother (you hear me, liner notes guy??) Grandmaster Caz, and Malcolm McLaren's insane musical flourishes makes for a pretty enjoyable listening experience. I mean, you know what? Mona Lisa sounds pretty damn good singing opera over a funky house track. This album should be a huge disaster, but it's not. Quality production and genuine talent from the artists involved turned even this colossally bad idea into a damn enjoyable listening experience. And that was the magic of Malcolm McLaren.

Girl, You Know You Want It!

It's time for another DJ Magic Mike single, I think. Today's is "Get On It Dog Gon' It" from 1994 on Mike's own Magic Records. That's right, no more Cheetah Records. This is the year Magic Mike struck out on his own, releasing his music on his own label. This is the single off of the album Bass Bowl, a generally disappointing album overall, going a bit overboard on the speaker-testing rumblings and light on the incredible scratches and the rhyming.

Fortunately, however, "Get On It Dog Gon' It" has both. This is one of the few tracks not produced by Mike himself, but rather one of his Royal Posse members, DJ Chief, who also provides some of the scratching (along with Mike himself). Unlike a lot of the mainly instrumental content of the album, this song is a more traditional number, with three verses by Posse member Daddy Rae, broken up with a shouted hook ("Get on it, dog gone it! Girl, you know you want it!") and some nice scratching of Salt-N-Pepa's "Push It" ("Ow!"). For the most part, it's not a stand-out song in Mike's catalog... it's a very standard Miami bass cut, with very the staple samples every Miami bass artist had already been using for years... the bulk of the instrumental. In fact, is the same as The 2 Live Crew's "Move Something" but with ultrasonic bass notes. And Rae's rhymes dedicated simply asking the girls to shake their booty to the song. There's a fun moment, though, where Mike himself takes the mic to spit his own verse at the end ("I'm like Jenny Craig 'cause you know I knock off the pounds").

But the highlight comes on hook and especially the breakdowns. The cuts are are fast and furious - of the "holy shit!" variety - and he changes the flavor by bringing in some classic old school breaks. And the effect is amplified on the 12" exclusive Club Mix, which doubles the length of the song. This mix really turns a good song into a great song, sometimes just letting the beat ride, and other times providing extra cuts.

But if you're bored 'cause the beats are too familiar, the B-side has Mike's Funk Mix, which swaps out all the samples for ones you've never heard before. Personally, I prefer the original - there's a reason the old tried and true standbys became the tried and true standbys - but it's a cool alternative. The B-side also includes the instrumental of the original version.

This isn't necessarily one of Mike's best songs... the breakdowns are a real highlight but otherwise he plays it too safe. But hard drums, deep bass, competent rhymes, fast breaks and wicked cuts always add up to a winner. And Magic Mike himself must've liked this one a lot. Not only did he pick it for the single, but he returned to it a few years later with "Get On it Girl" on The Ghost Is Back album (his reunion album with Vicious Bass) and again with "Get On It ('98 Style)," on Scratch & Bass.

The Dream Team... Posse?

Ok, to appreciate this one, you'll need to know the history of The LA Dream Team; so let me break that down real quick to start with. The Dream Team consisted of two guys, Rudy Pardee and Snake Puppy, who started putting out catchy hip-hop club records in 1985 on their own label, Dream Team Records, which was distributed by Macola (their label also put out some other early West coast artists). On the strength of their hits like "Rockberry Jam" and "Calling On th Dream Team," they got signed to MCA Records. There they put out a couple full-lengths and a bunch of singles, which are generally critically frowned on by the hip-hop community... They were like light, kid-friendly, with very pop-music production sensibilities. I think they're fun records, but it's all definitely dollar bin material.

Finally, in 1989, MCA dropped them, and that was the end of the LA Dream Team. Snake Puppy quit, and Pardee continued to perform solo as The Dream Team for a little while, but that was it. Pardee tragically died in a scuba diving accident in the 90's and there were never anymore records. Except there was. This one.

In 1990, Dream Team Records (and Macola again) released its final record, "The Bounce" by Dream Team Posse featuring Rudy Pardee. I'm not entirely sure who the "Posse" is in reference to, since this song is written, produced and performed by Rudy Pardee. He does credit a DJ for the scratches though, Black Caesar, so I guess he's one.

Anyway, you'll probably be surprised to hear that this record is actually good. I mean, if you hate everything from the Dream Team including their early stuff, this isn't gonna convince ya. But if you like their brand of old school west coast hip-hop, this is a solid entry. It's obviously a simple dance track, but Rudy steps up his lyricism as much as he was ever going to, and with a slightly harder delivery than usual. The track uses some fairly common (one might even say cliche) old school samples, but layers a bunch of them, combining the familiar into something new you haven't heard before. And it all fits; it never feels like a jumbled wall of disparate noises. The aforementioned scratches are about as barely here, there's only one or two little ones during the breakdown, but they do add to it all.

Given the chance to craft full verses on his own (with no back and forth, etc), Rudy shines here. And it makes me wonder what a full Pardee solo album would've sounded like. But, maybe this one single is enough.

I'm showing the cassette single here, but the 12" uses the same cover art. Both the tape and the 12" feature just the one version of the one song, no instrumentals or anything, on both sides. Don't put this at the top of your wish lists or anything, but if you're looking for an old school west coast single that you haven't already heard before and you can pick up on the cheap... you could do a lot worse than "The Bounce."

Some More CD Only Bonus Tracks

Craig G's second LP, Now, That's More Like It, was really good. But the CD was even better... by three whole songs! Still on Atlantic Records, Craig and Marley Marl were back (with a little help from Salaam Remi) in '91 with a unique but fresh sound. Granted, two of the songs were more than a little too new jack swing-ish for many tastes ("Girls" and "I Want To Be In Luv"), but there's really nothing else to complain about on this album. And fortunately, the three additional tracks don't break that record.

All three are produced by Marley, and none of them are on swing tip. They're strictly freestyle battle-rap type songs over fresh but hard beats.

The first is called "Swiftness." The track uses some funky, unusual drums and a cool horn loop. There's a little scratching on the hook, and Craig dedicates three verses of skill flexing "to all the MCs who that I couldn't get with it."

Next is "Live Off the Top." Like the title suggests, he rocks freestyle off-the-dome for the whole song. The beat is a solid head-nodder with rhythm scratches, hand-claps and a short but crispy horn sample. The rhymes feel a little looser than on the rest of the album, 'cause they're not written, but the production is layered enough that it really feels like a proper song rather than just a bonus freestyle.

Finally is "Going for the Throat." This is the one that gets the most attention, 'cause it's his infamous MC Shan diss. The track is cool - it uses a familiar old school funk-guitar sample, but changes up the drum and adds another sample, putting a new twist on an old standby. But of course, the first fifty times you listen to this, you probably won't even pay attention to the beat and just focus on Craig's vicious disses of Shan:

"It seems a brother that I went way back wit
Is coming out the woodwork, talkin' shit.
At first it didn't mean all that,
'Cause he was washed up and strung out on crack.
Freebase. His life was a waste to the rap world;
Nobody cared about him or his wack girl.
So, yo, I took it in stride,
And continued with the rest of my life.
Until recently, he showed some form of indecency:
Went in a magazine and tried to release on me.
Huh. But now it's the last straw;
I'm gonna wreck him and everything he stands for.
...
Go wash windows, that should be your career;
I could give a fuck about what you pioneered.
Straight up, that don't mean shit.
So won't you take your vine and swing the fuck off a cliff!
Yeah. I mean business;
Don't ever in your life try to diss this,
'Cause, punk, I'll rip you to shreads,
And mail your record company your head.
Hmph! I know it sounds a little graphic...
I heard your album's double plastic."

Shan came back at Craig on "Even If I Tore It," a B-side-only song from a 12" I covered recently, but Craig's disses were more vicious. Interestingly, though, Craig's second verse is the same verse he kicked on his classic duet with Tragedy, "Live and Direct From the House of Hits." It's essentially word for word, except Shan's name is occasionally added. So for instance, the line "slow down, kid, before you enter a speed trap" becomes, "slow down, Shan, before you enter a speed trap."

So these tracks aren't so obscure or overlooked as the Whistle ones I covered the other day. In fact, because of them, the CD tends to cost a pretty penny nowadays. But it's worth picking up, because they really enhance and already great album.

Word To Your Mother

I'm sure you're all at least passingly familiar (whether you want to be or not) with this album[left]: Vanilla Ice's To the Extreme on SBK Records from 1990. It's still one of the biggest selling rap albums of all time. The success of the lead single, "Ice, Ice Baby" led SBK to drop their entire hip-hop roster and focus exclusively on promoting the ice man for years, costing us some dope albums in lieu of lots of awful, awful Vanilla Ice follow-ups.

But how many of you are aware of the prototypical Vanilla Ice album that preceded To the Extreme and the break out success of "Ice, Ice Baby?" It was called Hooked[right] (named after the song "Hooked" which was also on To the Extreme) and came out on Ichiban Records earlier that same year. It's basically a rough, unpolished version of To the Extreme... When SBK signed him they rerecorded the music and added a bunch of extra songs.

So, yes, "Ice, Ice Baby" is on here, too. Ichiban actually originally released this as a B-side to what they thought was the hit of the album, "Play That Funky Music." It didn't take off, but as the saying goes, "B-side wins again," and "Ice, Ice Baby" started getting radio spins. And that's what led to SBK signing him.

It's actually my contention that "Ice, Ice Baby" isn't a bad song. Let's face it, the beat caught on because it was an ideal hip-hop sample (Queen and David Bowie's "Under Pressure")... which is why dope hip-hop acts like The UBC and The SCC used it since (and probably a lot more would if it wasn't tainted with Ice's legacy lol). The lyrics are freestyle, so while he's often criticized for not saying anything substantive on this track, that could be said of a lot of rap classics ("DWYCK," anyone?). And the delivery is actually pretty fun and effective... in fact, you may remember my theory that he lifted it from another, lesser known Miami MC named K-Ponce. So, it's a probably stolen rhyme scheme (at any rate, he certainly at least had co-writers, including his DJ Earthquake, who are credited)... but hey, I'd much rather hear a tested style that sounds good than something that's original but crappy. Unfortunately, he didn't keep stealing styles (or at least not any good ones), because he never made any songs one iota as compelling as "Ice, Ice Baby" since.

So, yeah. The songs are "remixed," but essentially they're the same. They use the same samples, lyrics etc. They've basically just been re-recorded with better technology, so the basslines sound smoother, the drums sound richer, etc. It was apparently a regular practice with SBK Records... you can read in my Keymaster Snow interview how they used the same process on Partners In Kryme's material. They also added several additional songs. The songs "Yo Vanilla," "Stop That Train," "Life Is a Fantasy," "Ice Is Workin' It," "Juice To Get Loose Boy" and "Havin' a Roni" are only on To the Extreme, not Hooked. That sounds like a lot, but a couple of those are just skits.

Hooked does have one exclusive itself, however (not counting the rough versions of all the songs as exclusives, which they really kinda are... and in some cases at least, like "Hooked," they are a little better): "Satisfaction." And it's actually one of the best songs on either album (for what little that's worth). It liberally uses the sample of The Rolling Stones' "I Can't Get No Satisfaction" married to a fun, very 80's drum track. That sample is why it was left off To the Extreme - couldn't clear it - but it's also what makes the song fun. A version without that sample would be pointless. They did eventually wind up releasing a live performance of the song on his live album, Extremely Live, but this is the only album with the original studio recorded version (although SBK eventually released a single with some studio remixed versions later on).

Anyway, it's Vanilla Ice, so it's hardly a must-have... But it's an interesting artifact, no?

Happy April First!

Some Overlooked CD Bonus Cuts

Today I thought we'd talk about... oh you read the title already? Ok, then let's just get on with the specifics. This is probably one of the last albums you'd expect to find out has CD bonus cuts on it (Hell, it's almost surprising there's a CD edition of this album at all), but sure enough, here they are. Whistle's second album, Transformation, was released in 1988 on Select Records. It's called Transformation because this is the album that really bridges the gap from rappers to singers. Sure they sang some on their first album, too; but they were known for their rapping. And this follow-up is the herald of their departure - after this, they'd be an all-singing group from then on - and it's split right down the middle. It features all R&B on side A, and all hip-hop on side B.

And like the blurb on the CD cover[pictured, above] says, it "INCLUDES TWO BONUS CUTS." Fortunately for us, the bonus cuts both appear on the hip-hop side. Both tracks are kinda short. And like most of the tracks on the album, they're produced by Kangol and Howie Tee and co-produced by Whistle.

The first is called "And This Is True," a reference to the hook of their biggest hit ("Nothing' Serious (Just Buggin')," that goes, "we're called Whistle/ And this is true/ We love to do the things that we're not supposed to do/ We don't be lyin'/ Stealin' or muggin'/ In fact don't take it seriously - we're only buggin'!" It's basically a Kool Doobie solo song, though the group croons in the background, over a super hard drum track (with the occasional heavy metal guitar riff). It's a single verse with a hook, but it's interesting for being possibly the most hardcore sounding track Whistle has ever done. The way he ends by declaring "suckers!" and all... I actually think this song may've been inspired by BDP's Criminal Minded.

The next is probably a little more in tune with what you'd expect from a Whistle song. It's called "Hello Skeezer," and has Jazz kicking some fun story raps about "a type of girl/ That's known throughout the country/ And half the world/ We call them skeezers/ For those who don't Know/ A skeezer's a pleaser/ Or hip-hop ho/ They go from show to show/ And place to place/ You might recognize the body/ As well as the face." It's definitely lighter, and features a classic old school sample set (it's buggin' me that I can't remember the hip-hop classic that used it first, but you'll recognize it instantly... especially the whistling on the hook) blended together with Howie's unique drum sounds. This is a fun song for any Whistle song, though it feels a little to short... it's basically two verses with a minimal hook and some shout-outs at the end. A third verse would've made it feel more full, I think, but fuck it. There's too few rap songs by Whistle in this world as it is, and I'm happy to find two more that've long been overlooked. So I'm just enjoying. :)

Another Jazz Thing 4 U 2 NV

(YouTube version is here. ...And another14u2nv.ning.com is the place to go if you want to pre-order.)